On EloquenceYale University Press, 2008 M10 1 - 208 páginas On Eloquence questions the common assumption that eloquence is merely a subset of rhetoric, a means toward a rhetorical end. Denis Donoghue, an eminent and prolific critic of the English language, holds that this assumption is erroneous. While rhetoric is the use of language to persuade people to do one thing rather than another, Donoghue maintains that eloquence is gratuitous, ideally autonomous, in speech and writing an upsurge of creative vitality for its own sake. He offers many instances of eloquence in words, and suggests the forms our appreciation of them should take. Donoghue argues persuasively that eloquence matters, that we should indeed care about it. Because we should care about any instances of freedom, independence, creative force, sprezzatura, he says, especially when we liveperhaps this is increasingly the casein a culture of the same, featuring official attitudes, stereotypes of the officially enforced values, sedated language, a politics of pacification. A noteworthy addition to Donoghues long-term project to reclaim a disinterested appreciation of literature as literature, this volume is a wise and pleasurable meditation on eloquence, its unique ability to move or give pleasure, and its intrinsic value. |
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Página 3
... Shakespeare's sonnets are such a case . But there is also an eloquence of least means , as in the shock of understatement , where one's excitement arises from the surprise of finding something said so barely yet so definitively . In ...
... Shakespeare's sonnets are such a case . But there is also an eloquence of least means , as in the shock of understatement , where one's excitement arises from the surprise of finding something said so barely yet so definitively . In ...
Página 10
... Shakespeare, few ideas would be lost to mankind, for want of English words, in which they might be expressed. But such perfection cannot be held. Changes must come, and with them corruption: from commerce; from the raising of the ...
... Shakespeare, few ideas would be lost to mankind, for want of English words, in which they might be expressed. But such perfection cannot be held. Changes must come, and with them corruption: from commerce; from the raising of the ...
Página 13
... he can retain as a “ reservation ” “ the name , and all th ' additions to a king . ” But a better question is : how did Shakespeare turn “ the quality of nothing ” into King Lear ? How did he write Taking Notes / 13 III.
... he can retain as a “ reservation ” “ the name , and all th ' additions to a king . ” But a better question is : how did Shakespeare turn “ the quality of nothing ” into King Lear ? How did he write Taking Notes / 13 III.
Página 14
... Shakespeare worded the play ? Further questions I take pleasure in : how does William H. Gass compose a sentence ; how did Guy Davenport make a para- graph ; how did Yeats find that particular way of writing “ No Second Troy ” ; how did ...
... Shakespeare worded the play ? Further questions I take pleasure in : how does William H. Gass compose a sentence ; how did Guy Davenport make a para- graph ; how did Yeats find that particular way of writing “ No Second Troy ” ; how did ...
Página 27
... Shakespeare and seventeenth century drama , poetry , and prose as the signal achievements . We might read the modern poets and novelists in our leisure hours , but they did not need to be taught . Nor were there any courses in American ...
... Shakespeare and seventeenth century drama , poetry , and prose as the signal achievements . We might read the modern poets and novelists in our leisure hours , but they did not need to be taught . Nor were there any courses in American ...
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Adorno Aeneas agile with temporal Bartleby blue Browne's Cambridge catachresis chapter claim Collected Poems context culture Dante death Derrida Dido Donne English Language Essays expression eyes feeling Finnegans Wake Flaubert Geoffrey Hill gesture gives Guy Davenport Gweneth Hugh Kenner human Hydriotaphia Ibid imagination John John Donne Kenneth Burke King knock Lady Macbeth last line Latin literary Literature live Locke London Madame Bovary means mind modern night Ophelia Oxford passage passion phrase play pleasure poet poetry Professor Hogan prose quence quoted R. P. Blackmur reader reading reason rhetoric rhyme rhythm seems sense sentence Shakespeare silence song without words soul sounds speak speech stanza Stevens story style sweet syllable T. S. Eliot take the train talk temporal intervals things thought tion trans translation tree University Press verbal W. B. Yeats William Empson Woolf writing Yeats